Abstract
This paper examines D. H. Lawrence's use of a fairy tale structure to enhance the ironic tone of the story,"The Rocking-Horse Winner", by controlling three critical literary elements: plot, allusion, and symbolism. The author points out that Lawrence effectively uses the irony of the fairy tale structure to show how children can be overburdened and destroyed when the problems of the adult world, such as obsession, greed and jealousy, are transferred to the child's world. The paper concludes that, although Lawrence is clearly a master writer, perhaps a writer with a different style, such as O'Henry, could take the same subject matter and write a story without the tragic overtones that are characteristic of "The Rocking-Horse Winner".

From the Paper
"However, even though the parallels are imperfect, they don't obscure allusions to other stories in the genre. The idea of a "gift" that is turned against a main character is a theme that recurs throughout the fairy tale and myth genres. The story of King Midas is about a gift that is turned into a curse. His greed for gold is turned into a "golden touch" that destroys everything and everyone he holds dear. Likewise, Paul's gift of special knowledge from the rocking horse is turned against him when his mother spends the money he wins at the races faster than he can win it."

Tags:sisyphus, fairy, symbolism, irony, tragedy

Abstract
In this paper, the painting "The Return of Persephone" by Frederick Leighton reveals the symbolic classical mythology of Persephone's return from Hades through the Elysian Mysteries. The symbolic return from the dead of Persephone through Demeter's influence, defines the critical point that reveals the immortality of the human condition in the Elysian Mysteries. With Persephone being placed alongside the mighty Thrice Great Hermes at the dividing line between the upper and lower realms, her return defines a rare instance of return from the land of the dead to the living.

From the Paper
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Tags:leighton, persephone, art

Abstract
The paper analyzes the afterlife within Homer's "The Iliad" to reveal the nature of death, and how ancient and modern Greeks relate to this tradition of Hades. The paper discusses how this mythic and literary aspect of death in Homer's text brings forth the reluctance and ire of all men to have to be sent to Hades, regardless of the heroic traits they possessed. The paper explains that the tradition of Hades can often still be seen in the tradition of Hell, which has evolved from Greek antiquity; then through the Romans, and finally into modern traditions of sin that define a reward system for going to either Heaven or Hell.

Tags:homer, religious, afterlife

Abstract
The paper relates that Zeus, son of Cronus and Rhea, was one of the most powerful gods in the rich Greco-Roman mythology, and he led the young generation of gods, the Olympians, in the battle against the old generation, the Titans, led by his father. The paper further relates that the war, Titanomachy, lasted for 10 years and Zeus, his siblings and allies were victorious. The paper describes how this victory enabled the creation of new heavenly order; the Cronus kingdom was divided with Zeus receiving the heavens, his brother Poseidon the oceans and the third Cronus' son Hades the underworld.

From the Paper
"Zeus, son of Cronus and Rhea, was one of the most powerful gods in the rich Greco-Roman mythology. He led the young generation of gods, the Olympians, in the battle against the old generation, the Titans, led by his father. The war, Titanomachy, lasted for 10 years and Zeus, his siblings and allies were victorious. This victory enabled the creation of new heavenly order. The Cronus kingdom was divided with Zeus receiving the heavens, his brother Poseidon the oceans and the third Cronus' son Hades the underworld. Zeus married his sister, Hera the goddess of earth who became the queen of gods (Scott Littleton, 2002; Morford, 2003)."

Tags:mythology, homoeroticism, gods

Abstract
In this paper, the burial traditions of afterlife are analyzed within Homer's 'The Iliad' to reveal the nature of Greek death. Clearly, without understanding the afterlife, one cannot understand burial rites and the central reasons why the migration of the soul was a bodily and spiritual process. The writer discusses that this mythic and literary aspect of death in Homer's text brings forth the reluctance and ire of all men to have to be sent to Hades, regardless of the heroic traits they possessed.

Tags:homer, burial, death

Abstract
This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.

From the Paper
"The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."

Tags:strophes turbulence, representational style, notes, rhythmic subdivisions

Abstract
The following paper draws parallels between Homer's "Odyssey" and the Coen Brother's "O Brother Where Art Thou?". In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in a liberal way, changing scenes, settings and characters. The writer compares the original epic and the original screenplay and discusses dozens of small but meaningful comparisons. For instance, Odysseus and his men descend into Hades where they encounter several ghosts from Odysseus's past; in the film the boys meet a fellow inmate who they thought was dead. Odysseus from the original epic and Ulysses from the film (played by George Clooney) both have to prove to their wives that they are true: Ulysses must bring Penny the ring to redeem himself. In the Odyssey, Book 23, Penelope declares that "there are tokens with which we two alone are acquainted," (Butler trans.). Although it was written millennia ago in ancient Greece, the parables of the Odyssey remain extant for a reason: Its themes are universal and accessible and adaptable for all time. The Coen brothers' movie "O Brother Where Art Thou?" exemplifies Homer's timelessness, as well as their own versatility.

From the Paper
"Homer's Odyssey is more than an epic tale of a man "who wandered far and wide," across the sea; it is an archetypal journey with universal and enduring import. It is not difficult to find parallels between Odysseus's adventures and modern ones, for ultimately the Odyssey transcends its details. Homer erected a narrative structure that lends itself to adaptation and reconstruction. Most notable to modern reinterpretations of Homer's Odyssey is James Joyce's Ulysses, which focuses on and develops the relationship between father (Odysseus/Leopold Bloom) and son (Telemachus/Stephen Dedalus). In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in an equally liberal way, changing scenes, settings, and characters. But whereas Joyce's version of the Odyssey is microcosmic, its journey more psychological than physical, the Coen brothers' O Brother Where Art Thou? rambles through a decidedly physical and farcical tale. At first glance the film resembles Homer's epic little: only certain elements are obvious like George Clooney's character's name (Ulysses) and the three sirens by the river. A deeper investigation of the film and the original text reveals numerous, if more subtle, references."

Tags:Depression-era, Mississippi, prison, American, south, sepia, camera, filters, jailbird, husband, estranged, family

Abstract
This paper uses the Wesleyan Quadrilateral of Experience, Tradition, Scripture, and Reason to outline the various interpretations and understandings concerning Christ's descent into hell. The paper uses a series of interviews with some of the America's top religion/philosophy instructors, as well as randomized viewpoints.

From the Paper
"In general three main arguments have been established: first, that Christ did not descend at all; second that he did descend to the underworld (ei"& ta katacqovnta katelqovta), that is, the place of the dead; and third that he descended into hell (descendit ad inferna) and battled with Lucifer and/or Hades in an effort to rescue those who came before Christ."

Tags:catholic, gehenna, god, hades, peter

Abstract
This paper uses the Aristotelian definitions of tragedy in order to place Blanche Dubois as the tragic hero in "A Streetcar Named Desire." The paper first looks at the symbolic and actual setting of the play, then analyzes Blanche's character to find her "tragic flaw/s." The essay shows Blanche as a creator of her own fate, not a victim of Fate.

From the Paper
"It is the view of the Kowalski's apartment as a representation of the afterlife, a place of punishment and reward, which first introduces to us Blanche as a self-determining tragic protagonist. If the afterlife is fair, and we must assume it to be, then she has earned her rewards and punishments there. Yet this is not only a story of earned consequences, but also of Blanche's metaphorical "expulsion from paradise," though this is certainly a paradise much troubled. Elia Kazan, the director of this play under Williams, realized the mythological fall from "grace" in his "intuition and then conviction...that he should envision each of the eleven scenes as a step in Blanche's progression from arrival to expulsion." It is astonishing to follow how easily Tennessee Williams casts a victim of rape and social oppression into a mold built around self-destruction."

Tags:Hades, Aristotle, Freud, Persephone, rape, South, Southern, fall, grace, madness

Abstract
This paper explores the guiding theme in "A Streetcar Named Desire," namely, the search for immortality, justification, and redemption. It does this by examining the metaphorical aspects hidden within the story and by drawing comparisons between the main character in William's play and characters in Greek mythology that deal with themes of the afterlife.

From the Paper
"The first point which must be explored, of course, is the leap into this metaphysical landscape. How does one go from a setting in New Orleans to discussing how this story is set within the scope of the afterlife? Actually, it's rather obvious. Yes, the story takes place in the French Quarter of New Orleans, but more to the point it is set in the "Elysian Fields." According to Greek mythology, the Elysian fields are the afterlife where one is judged and rewarded for past deeds. It is to be noted that Blanche arrives in the Elysian Fields "by way of a Freudian streetcar named "Desire," transferring to one called "Cemeteries."" (Ridell) While that progress from desire to death may be a sort of foreshadowing of the play's narrative arc, it is equally possible that it is a more direct description of the route taken by Blanche prior to the play. (The way that history repeats itself is, of course, a major part of this theme and of most afterlife scenarios, so both foreshadowing and introduction-to-the-past may be intended) In short, Blanche's earlier desires and escapades may have killed her in either a literal or a figurative sense. She then proceeds logically by way of Cemeteries to the afterlife of the Elysian fields."

Tags:blanch, stanley, damnation, salvation, persephone, hades, elysian, fields, punishment, rape